I agree with Nick's writing, but in my opinion the point he is making is that you shouldn't obsess about the thumb never peeking from behind the guitar neck. However you have a habit of permanently keeping the thumb on top of the neck (you're not moving it vertically along as your fingers move on the strings). You'll get away with that as long as the pieces are simple, use 1st position exclusively (no position shifts), there are no difficult stretches, no fast scale runs, trilling or slurring. But all that is soon about to change. Many of the techniques you will be needing simply won't work if you keep your left hand like that, so you need to change it sooner or later. It makes sense to do it sooner, so that you don't end up in the situation where you're expected to master a difficult new technique and
relearn basic technique at the same time.
It is clear to me that you have experience playing acoustic and/or electric guitar, so the left hand stuff in D02 will most likely feel very easy for you. Trust me when I say, when you get to the last lessons of D03 and onwards, you won't feel that way anymore. My point is, the "thumb-behind-the-neck" rule exists for a reason, and even (as with any rules) you can break the rule once you know what you're doing (and what you're doing it for), you need to learn to walk properly if you're going to learn how to run fast, so to speak.
Laura Staats wrote:As far as deviating from the rhythm in this way, I am guessing this would probably be frowned upon in strict classical playing, which is why I pointed out that I took some liberties with my interpretation. I am still trying to get my head wrapped around when it is appropriate to use generous amounts of rubato. To me, the rhythmic interpretation of our example version deviated as far from the written music as my version. I was so fascinated by how much more I liked the song with the swing feel that I decided to play it that way for my submission.
There is nothing wrong in experimenting with interpretation. Classical guitar playing has certain rules of aesthetics (performance practice, if you will), and how you're 'allowed' to interpret pieces also depends on which era (renaissance, baroque, classical, romantic, modern) is in question. The only way to really learn this stuff is to listen to a lot of CG playing. But sometimes you just want to do a piece in certain way, even when you know it's 'wrong', and I don't see that as a problem as long as you're aware that you're deviating from the standard practice.
Just my opinion...